Collaborations instantly shrink the music world, making it appear oddly small. From Lou Reed and Iggy Pop to Bowie and Jagger, musicians are a creatively polyamorous bunch.

For Jack Cooper and James Hoare, of full-time bands Mazes and Veronica Falls respectively, an instant rapport naturally led to a collaboration via a shared love of 1960s aesthetics and a late night scramble for bus fare. Borrowing their moonlighting moniker from the seminal improvised piece by 60s avant-garde collective Drop City, Ultimate Painting – a mystic acrylic painting that depicts geometric forms expanding outwards – the duo meld their distinctive styles with relative ease.

Sticking two musical heavyweights in the same room doesn’t automatically produce great results, however Ultimate Painting thrive on a relaxed formula, escapist, organic and undoubtedly authentic, their eponymous debut record, released October last year, received much acclaim. Having already proved their songwriting skills in Mazes and Veronica Falls, together they bump heads with total creative synergy.

The 60s vibe that forms the lynchpins of their sound boils down to both the subtle execution of translating their influences, and equally from their revivalist production technique – the duo recorded the record swiftly over a few months and straight to tape, entirely analogue, in order to yield the required result. This process exemplifies the duo’s work ethic and loyalty to their sound, cultivating an understated serene beauty.

Listening to their debut record from beginning to end, the effortlessness of the duo’s dynamic is clear. And beginning to end is exactly how the record is intended to be heard, needle down from start to finish. As an entity the album flows with mellifluous ease, each track floats with narcotic languor within a Phil Spector-esque wall of sound as washed guitars spiral, loop and layer, cloaking vocals in a poignant layer of longing and reflection.

Alex James Taylor: How long have you had the idea for Ultimate Painting for?
Jack Cooper: I’ve been doing Mazes since 2008 and after a while it felt like I was writing songs that were geared to the way that we play together, rather than writing the type of song that comes naturally to me. I had this song that became Ultimate Painting and I knew it wasn’t for Mazes, so I think I was subconsciously looking for something new. James and I were on tour together and hit it off and that’s that.

AT: And how did you guys first meet?
JC: I don’t remember when we met for the first time but I think it was when I put on his band Veronica Falls. I found him to be quite abrasive whenever I’d see him around but always good company. Just before our two bands toured together, I was stranded without money in Tottenham and I randomly bumped into him on the street. He leant me my bus fare home and I guess I thought, ‘he’s not so bad’.

AT: Did the musical partnership happen immediately? Did songwriting come easily between the two of you?
Yeah pretty much… The first afternoon we got together to record was a little bit stunted but it all started working really quickly. We both contributed five songs, or five ideas for songs to the LP and for better or worse, he’d finish off my songs and I’d finish off his. It’s a fairly old-fashioned songwriting partnership. It’s straight down the middle as far as input is concerned.

AT: Did you both want to explore different avenues to Mazes and Veronica Falls? What was the idea behind the band?
JC: The initial idea was to do something like Television. Specifically having two guitars that would weave in and out. When we started recording, we just decided to go with what came natural and not to try and do anything… just to let whatever happens happen. The one thing that we did set out to do was to make something that we were both sonically happy with and I think I can speak for him as well, this is the record that either of us have done which we think sounds the best. That’s not to say it’s better – that the songs are better or stylistically – but it sounds how we like it to sound.

AT: Is there a sense of freedom that comes with something new, perhaps without as much pressure?
JC: The only people that knew we were doing anything was my girlfriend and James’ housemates… so there was no pressure at all. If it had come to nothing, then it would’ve been no big deal. There were no time restrictions and that gave us luxury of just saying, ‘Fuck it’ if it wasn’t working on occasions.

AT: Was it difficult to find time for this project between your schedules with Mazes and Veronica Falls?
JC: Neither of us are in One Direction or anything so we both have quite a bit of time on our hands. He’s one of the only other people I know that has engineered their life around having free time to make stuff. I’m sure there will be a point when this band gets put on the back burner but we’re both aware that might happen at some point.

AT: Your album was released on the US label Trouble in Mind, I couldn’t find any evidence of either of you guys using the label previously, what brought you together?
JC: We just liked the label a lot and they were the first people we sent the finished record to. They got back within a few hours saying they’d like to release it and although we had some interest from some other people later, Trouble In Mind and our initial correspondence with them. It just felt right and that turned out to be the best decision. They’re just the nicest people. They transcend ‘record label’: they’re more like patrons or parents… They won’t like that!

AT: There’s a strong 60s feel to your sound, was that influence prominent straight away?
JC: I think rather than emulating the 60s or whatever, we just wanted to make something that sounded good and it just so happens that recording techniques peaked in the sixties. We’re obviously influenced by records that were made then and it’s like, big deal?! The woman from Tuneyards was part of a panel on 6Music that reviewed our LP and her criticism was that ‘it’s nothing new’ and to me that’s actually a pretty backwards opinion to have if you think about it. To only value music that pushes things forward is actually pretty blinkered. Nothing is truly original… that’s impossible. It’s all just varying degrees of rip-off.

AT: The production is really great, did you try out any new techniques on this record, or special tricks?
JC: Just tried and tested things really. We tried to make it sound good. But yeah… I appreciate that and it’s cool how many people have picked up on the sound of it.

AT: If you could form your own ideal supergroup who would you put together?
JC: Well I’m pretty mesmerised by the way Cate Le Bon plays guitar…so Cate! I played the drums on this record and I’m not good by any stretch of the imagination so it’s been cool playing with Neil from Mazes… He’s my favourite drummer really. I dunno man… hard question.

AT: How has the reaction been to the album from your point of view?
JC: I guess we hoped that it’d get a certain amount of interest because we’ve both done stuff before, but it’s been great how it’s been treated separately and people have focused on the sound and the songwriting. Couldn’t really have asked for anything more. The bands that people have referenced have been pretty spot on usually… Some reviewers have seemed excited about spotting Velvet Underground similarities… I mean, come on. Yeah it’s been cool. Some reviews have been pretty amazing but I dunno, people seem to have taken it to heart.

AT: And you’ve recently come back from touring the US and a few gigs in the UK, how was that?
JC: Perfect. Just great fun and getting to spend time with Bill and Lisa from Trouble In Mind and their family was a privilege. Neil who played drums and our new friend AJ Cozzi on bass were perfect company and the shows we played were cool. It felt like there was some excitement from people that we were over there. Its a thrill obviously. Played a few with White Fence and King Gizzard. CMJ was cool. Yeah pretty perfect.

AT: Was it strange at all touring away from your full time bands?
JC: I don’t think either of us think of this or that as full time bands or side projects. You can’t really think like that. I missed having Conan around but we’ll do that again at some point I’m sure.

AT: Is it a case of ‘back to the day job’ now? Or are you still continuing to write?
JC: We have a ton of demos kicking around and the plan is to record in December in the hope that we can follow this one up quickly. We have plans to tour in January and then the US again in March so it’s be cool to have something new to play. We have some festivals booked in already so yeah… stuff.

Ultimate Painting’s debut self-titled album is out now on Trouble In Mind.

The band plays tonight, Thursday 29th January at 100 Club, 100 Oxford Street, London W1D 1LL. See updates at their Tumblr.